Original subtitles

(suspenseful orchestra music)

- Well, are you gonna talk,

or do I have to stop being polite, and get really tough?

- All right, I'll talk.

I tell you things to let me get out.

- All right.

Well?

- A cigarette might help.

(suspenseful orchestra music)

(gunfire)

- You idiot.

He's their top agent!

He can tell us everything we want to know.

If you've killed him, I'll see you hang for it.

(suspenseful orchestra music)

- [Brady] Hello, Smith.

Who's this with you?

- It's all right, Mr. Brady.

Colonel Warren has permission to see you.

- Is that so?

If it's not out of place, would you mind telling me

who's permission?

I don't remember anybody asking me.

- The (unrecognizable)

- Well, that's different, I guess.

- All right, Mr. Smith.

I'll take it from here, thanks.

- Just as you wish, Colonel.

- So, you're the Invisible Man, eh?

How does it feel to be a state secret?

- Oh, it has its drawbacks.

Pardon me for a moment.

As a matter of fact,

you've come at a very historic moment, Colonel Warren.

- Oh?

- I rather think the results of this experiment

are gonna take me several steps on the way

to becoming visible again.

- No.

I'm sorry, but I'm afraid, from our point of view,

that would be disastrous.

- Oh? Why?

- Maybe I'm gonna tell you who I am and why I'm here.

I'm from military intelligence.

Mr. Brady, we need your help in a matter

vitally concerning the safety of this country.

- Oh, I see.

How can I be of help to you, Colonel?

- Have you ever been to Babeh-Sar?

- No, I don't know the Middle East.

Babeh-Sar? Hmm.

They've just had a revolution there, haven't they?

- Yes, and the new regime is far from friendly to us.

- That's too bad.

I don't see how I can help you.

- You will.

Listen.

There's a strong resistance movement in Babeh-Sar,

largely organized by our top undercover man

in the Middle East, Jack Howard.

A couple of days ago, he was caught, and badly shot up,

trying to escape.

Officially, of course, they deny all knowledge of him,

but we know that he's lying unconscious

in a military hospital there.

The secret police are only waiting till he comes to,

and then they'll torture him to get our codes,

the names of the resistance leaders.

In fact, everything.

Mr. Brady, it's vital that we get him out of their hands

before they can make him talk.

- Yes, I can see that.

- And only an invisible man can get into that hospital

past those guards to reach him.

- But I thought I was supposed to be a top secret.

- Yes, but it's so vital to save Howard,

that I got permission to use you.

- All right, Colonel.

I'll be ready to start in the morning.

- Sorry, but the plane's waiting now.

- We're approaching the target.

The pilot expects to see their signal any minute.

- Don't jump until I tap you on the shoulder.

- I'm in no hurry.

- When you land, don't forget to roll up that parachute,

and hide it.

You're being met by a woman.

- Oh?

- Yes, but she's no ordinary woman.

She's from the mountains, coming as a fox.

One of our best people.

- Does she know I'm invisible?

- No.

You better break it to her gently.

And don't forget, she's the only one who must know

about you.

By the way, her name's Yolanda.

- Listen, Hassan.

Can you hear anything?

- Yes, it's coming from the West.

There's bad news, my lady.

The (unrecognizable) send a message by a (unrecognizable)

to say that there are many soldiers in the village.

They come after dark by car and by truck.

- Fetch the lamp.

(plane flying far off)

- It is an honor that you should have chosen my humble farm

for the landing, but is it wise, so near the city?

- We'll be safer further out.

Soldiers have set up many roadblocks.

Speed is essential.

We must get the Englishman out of hospital

before he could talk.

- Well, I know the Englishman.

He won't betray us.

- No, but drugs can loosen his tongue.

- Please, let it go.

It is dangerous now.

- Look, Hassan!

- Please, do not signal.

- We must take a chance.

- But this man they are dropping,

how can he expect to get the Englishman out of the hospital

when we have failed?

You're fearless, my lady,

but it is not wise to be too brave.

(alarm)

- Here we are.

You know, I've never done this before.

- Oh, there's nothing to it.

- I may be invisible, but I bump just as hard.

- Good luck, Brady.

- [Brady] I'll need it.

(suspenseful orchestra music)

- Look, there it is. Parachute.

- I can see.

- Brother, forward.

- No. Don't hurry.

There'll be friends to meet him.

Let's wait.

Let's take them all together.

- He's down. Keep good watch.

I'll go and get him.

(intriguing orchestra music)

- Forward.

(intriguing orchestra music)

- Quick. Inside.

Close the door.

I'll hide on the roof.

- Allah defend us.

It's Omar, himself.

- See what's in there.

If there's anybody inside, get them out.

- Open the door!

Come on, open up!

- [Man] Who is that?

Who are you?

Why you come wake up a honest man in the middle

of the night?

- That's enough. Open the door.

It's the police.

- [Man] Oh, police.

One moment, good sirs. One moment.

Forgive me, I was sleeping.

- You must have been sleeping with those people are dead.

Didn't you hear an aircraft pass over?

- An aircraft?

- Yes, it shook the foundations of your house.

- Perhaps I did hear something in my sleep.

- Oh, well, since you were sleeping,

I suppose you won't have seen any strangers about, will you?

- Strangers?

- Yes.

- No.

- No one at all?

- No, no one.

- And this is your car?

- The car?

- Yes.

What a wonderful farmer.

Five acres of sand and stone,

and he produces a car like that.

Now, come on. Tell the truth.

Whose car is this?

- The car is mine.

- Will you come down here, please?

- Certainly.

- Corporal, search the house.

Who are you, and what are you doing here?

- I'm staying here with my uncle.

- And this is your uncle?

- My uncle, Hassan.

- She speaks the truth.

- Quiet, Uncle.

Put him in the truck.

- I found this.

- An interesting piece of equipment.

I wonder what your Uncle Hassad uses this for.

Take her inside.

(intriguing orchestra music)

I know that you were sent here to meet a Western agent.

Who was it?

You have a pretty face.

It would be a shame to mark it.

Now, speak up.

Who sent you here?

I want names.

- Pig.

- And now, the names.

- [Brady] Quick, keep him covered.

- Keep your hand off your gun, Omar.

I warn you not to move.

Don't give me an excuse to shoot you.

- [Brady] Keep him covered, and get into the Jeep.

(intriguing orchestra music)

- Keep away from that door, Omar.

I'd be delighted to put a bullet through you.

- [Brady] Move to your left, Yolanda.

- Who are you?

- [Brady] The man you came to meet.

- We'll chase them in the car.

- You've turned up, just in time.

(scream)

- [Brady] Steady, now.

It's only me.

Take it easy, there.

- I can't see you.

- [Brady] That's right. I'm invisible.

- Invisible? Who are you?

- [Brady] I'm Peter Brady.

- Your country has made remarkable progress

in espionage, my friend.

No sign of them yet.

They'll be following us.

- [Brady] You can put that gun away.

You won't be seeing your officer friend again tonight.

I fixed the truck and the car in the stable,

so they won't work.

Oh, and while I was about it, there was a prisoner

in the back of the truck.

I turned him loose.

- That was Hassan. Good.

- [Brady] Now, tell me more about Howard,

the man in the hospital.

- Jack Howard?

He built up our resistance force right through the country.

He's a great organizer.

Everyone loves and admires him.

Without him, we are lost.

We must get him away from the hospital.

(suspenseful orchestra music)

- [Brady] Hey, look.

What's that up ahead?

- A roadblock.

(suspenseful orchestra music)

- [Brady] Down on the floor.

Her we go.

- Well, Mr. Brady.

Being invisible certainly has its uses.

- [Brady] See those lights ahead?

- Yes, the town.

- [Brady] It's time we dump this Jeep.

- We can't go into Adan.

The gates are guarded.

- [Brady] It's almost light now.

- I have a hideout in the town.

We can make our plans there.

This is a plan of the hospital.

Since the revolutionary army took it over,

there is only one entrance, here.

- [Brady] We must have him out before dark.

We have a vital rendezvous to keep at sunset.

(horn honking)

- It's Nassib.

He's our contact with the hospital, an ambulance driver.

We can trust him.

- I'll keep quiet.

He mustn't know about me.

- Yolanda, my mountain eagle.

- Yassib, you went out long.

- I was fetching a patient when I got your message.

I came here immediately.

Ambulance, nurse, patient, and all.

- Good.

- Now, tell me your business, quickly,

because the nurse has an excessive sense of duty,

and is obstinate as a she camel.

- We must get Howard out of hospital.

This morning, if possible.

- This morning?

You know, I'm ready to do anything for it.

Anything.

But to attempt that, it would be a shortcut to paradise.

First, there are the guards at the gate,

armed with automatic weapons.

And then, there is that cursed vulture, Jemal,

in the west wing corridor.

- [Yolanda] Which is Howard's room?

- It's the one at the end of the west wing corridor.

It's an awkward position.

Everyone can see who goes in, and who goes out.

(horn honking)

(spit)

That she camel.

What is it, my beautiful one?

- Have you forgotten our patient?

I will wait no longer.

- I am coming.

I am coming, my treasure.

She thinks I am visiting my sick father.

What is this?

Why do you ask all these questions,

when you know the answers already?

- Yes, but I have to make sure.

- And, who will be with me?

- I will.

- You? By yourself?

- Yes.

- I know you are fearless, but not even you could do this.

- If I can get Howard to your ambulance,

can you get us away from the hospital?

- Well, that I promise, but for you, alone,

to get him to my ambulance.

- That is my worry.

But first, I will need a nurse's uniform.

- You will enter the hospital as a nurse?

- Yes.

(horn honking)

- Yes, my dob?

- I order you to come at once.

- In one little moment, moon of my desire.

- Come on, or I'll report you to the matron.

- But nurse, my father is sick.

I beg you.

Come up and look at the old man.

- I will wait no longer.

- Nurse, I will not leave until you see him.

Would you have him die?

You said you wanted the nurse's uniform?

- Yes.

- Here it comes.

- Well? Where is he?

- [Yassib] Right here, my angel of mercy.

- What is it?

What do you want?

- Your clothes.

Find something to tie her up with.

(intriguing orchestra music)

- [Brady] This is the room, on the right.

(intriguing orchestra music)

- [Guard] Who are you?

- What's the matter with you?

- No one's allowed in here, except the nurse in charge.

- Well, I wish they'd tell us these things.

I came for the empty oxygen.

- Hurry up, now!

Get out of here!

I've got my orders.

You'll get me into trouble.

(suspenseful orchestra music)

- Colonel! Colonel Omar!

Why have you brought me here like this?

- Because a very grave emergency has arisen.

How long will it be before he becomes conscious?

- Soon, I think.

He's very strong.

Otherwise, he would not have survived.

- [Brady] Howard. Howard.

- A British agent was dropped near the town,

just before dawn.

He would have been sent to shoot Howard

to make sure he doesn't talk.

Now, you make sure that nobody gets to him,

or I'll have you shot.

Now, wait outside.

Doctor, this changes all our plans.

Howard must be made to talk,

before this agent has a chance of getting to him.

- But this is no ordinary man.

All his training has taught him not to talk.

It's a kind of professional obsession.

Even our strongest methods cannot loosen his tongue.

- I understand there's a surgical operation

that can cure certain mental aberrations.

- Oh yes, the frontal lobectomy.

A minute, but complete segment of the brain is removed,

and with it go all the characteristics and impulses

normally controlled by that segment.

Arrogant, overbearing personalities can be changed

to timidity.

Minds obsessed with fears become confidant.

- Yes.

I understand that if one particular section is removed,

all sense of responsibility can be made to disappear.

Is that right?

- I have heard of such a case.

- Good, there will now be another.

- I don't understand.

- Well, it's perfectly simple.

If Howard can be relieved of his sense of responsibility,

he won't hesitate to tell us anything we ask.

- Are you suggesting that I do this?

- I'm not suggesting it.

I'm ordering it.

- I refuse. I refuse!

I should be making him an imbecile.

- Oh, that's no problem,

Once he's told us what we want to know, he can be shot.

You will operate at once.

- No.

- I think you will.

You see, I took the precaution of arresting your wife

just after you left home this morning.

If you want to see her again, you will do as I tell you.

- Very well.

- They'll be calling to the patient any minute now.

You go back inside.

Don't leave him.

Accompany him to the operating theater.

(intriguing orchestra music)

- [Brady] Yolanda.

- Brady.

- They're taking him to the operating theater.

Now, we must stop them.

Ah, ether.

Now, quick, find some cotton wool.

Plenty of cotton wool.

Bowl, a syringe.

Ah, yes, that'll do fine.

(intriguing orchestra music)

- I told you, you must not come in here, nurse.

- I come to prepare him for the operation.

- Only the nurse in charge is allowed in here.

- I must do as I'm told.

- Then you go and get the head nurse.

- But I must obey my orders.

(suspenseful orchestra music)

- [Brady] All right, onto the stretcher.

Now, take his feet.

Quick, lift him up.

Easy.

Good girl.

- Tell them, send up Howard.

- Yes sir.

West wing.

- I won't talk. I won't talk.

- [Brady] Quiet, now.

- He would come to now.

- Yes, I quite understand, nurse.

I will give the patient the injection,

and bring him to the operating theater right away.

(intriguing orchestra music)

- Nurse, where are you taking Mr. Howard?

- [Yolanda] To the operating theater.

- How dare you touch my patient?

- But I was sent from A Block.

They told me to fetch him.

- You nurse and you take my patient without telling me.

I shall report you.

What is your name?

- Report me, then.

I'm only doing as I'm told.

- Nurse, stop.

You must bring that patient back.

He has to have a pentosan injection.

- I have already given him one.

- It's outrageous.

(phone ringing)

- Yes, operating theater.

Yes, nurse. Yes, nurse.

You say, one of our nurses came to fetch him?

But we sent no nurse.

(suspenseful orchestra music)

- What's that? What are you saying?

Who came to fetch Howard?

I see.

(suspenseful orchestra music)

So, it's you.

Well, this makes me very happy,

because if Howard doesn't talk this time,

I shall make sure that you do.

(suspenseful orchestra music)

- [Brady] Quick, get his gun.

Keep him covered.

(suspenseful orchestra music)

Let's go!

(intriguing orchestra music)

- Don't just stand there.

Get into the cab.

Drive off when I shout.

- But you can't lift him aboard.

- Do as I say.

- [Brady] Get him in now.

(intriguing orchestra music)

Careful, now.

That does it.

(suspenseful orchestra music)

(shouting)

(majestic orchestra music)